ed merely by
orange or purple color from the green greys, which, though not darker
than the warm hues, have the effect of shade from their coldness, but
cannot be marked as shade in the engraving without too great increase of
depth. Enough, however, has been done to give some idea of the elements
of Turner's design.

Sec. 22. Detailed accounts of the Rossberg Fall may be found in any
ordinary Swiss Guide; the only points we have to notice respecting it
are, that the mountain was composed of an indurated gravel, disposed in
oblique beds sloping _towards_ the valley. A portion of one of these
beds gave way, and half filled the valley beneath, burying five
villages, together with the principal one of Goldau, and partially
choking up a little lake, the streamlets which supplied it now forming
irregular pools among the fallen fragments. I call the rock, and
accurately, indurated gravel; but the induration is so complete that the
mass breaks _through_ the rolled pebbles chiefly composing it, and may
be considered as a true rock, only always in its blocks rugged and
formless when compared with the crystalline formations. Turner has
chosen his position on some of the higher heaps of ruin, looking down
towards the Lake of Zug, which is seen under the sunset, the spire of
the tower of Aart on its shore just relieved against the light of the
waves.

The Rossberg itself, never steep, and still more reduced in terror by
the fall of a portion of it, was not available to him as a form
_explanatory_ of the catastrophe; and even the slopes of the Righi on
the left are not, in reality, as uninterrupted in their slope as he has
drawn them; but he felt the connection of this structure with the ruin
amidst which he stood, and brought the long lines of danger clear
against the sunset, and as straight as its own retiring rays.

Sec. 23. If the reader will now glance back to the St. Gothard subject, as
illustrated in the two Plates +21+ and +37+, and compare it with this of
Goldau, keeping in mind the general conclusions about the two great
classes of mountain scenery which I have just stated, he will, I hope,
at last cease to charge me with enthusiasm in anything that I have said
of Turner's imagination, as always instinctively possessive of those
truths which lie deepest, and are most essentially linked together, in
the expression of a scene. I have only taken two drawings (though these
of his best period) for the illustration of all the